A rising sempre legato figure appears in the eighth of these works marked dolce e teneramente, while the ninth, Allegro pesante e risoluto, is in C minor and is the second piece in this collection to be in 4/4. The first half of the fifteenth, Presto Scherzando, closes on the tonic, and the unison octaves in the 22nd is a reference to Leporello's aria "Notte e giorno faticar." The twenty-sixth is Piacevole, while the twenty-fourth is marked una corda, sempre legato and is a Fughetta Andante. This group of works is analyzed in the chapter "The Shape of a Journey" in a Maynard Solomon book, and they begin with a piece called (*) Alla marcia maestoso. A likely apocryphal story is that this collection's composer first dismissed the central theme as a "cobbler's patch" and refused to take part 
A rising sempre legato figure appears in the eighth of these works marked dolce e teneramente, while the ninth, Allegro pesante e risoluto, is in C minor and is the second piece in this collection to be in 4/4. The first half of the fifteenth, Presto Scherzando, closes on the tonic, and the unison octaves in the 22nd is a reference to Leporello's aria "Notte e giorno faticar." The twenty-sixth is Piacevole, while the twenty-fourth is marked una corda, sempre legato and is a Fughetta Andante. This group of works is analyzed in the chapter "The Shape of a Journey" in a Maynard Solomon book, and they begin with a piece called (*) Alla marcia maestoso. A likely apocryphal story is that this collection's composer first dismissed the central theme as a "cobbler's patch" and refused to take part in the Vaterländischer Künstlerverein project. For 10 points, name this set of thirty-three works for piano, the Opus 120 of Ludwig van Beethoven.
A rising sempre legato figure appears in the eighth of these works marked dolce e teneramente, while the ninth, Allegro pesante e risoluto, is in C minor and is the second piece in this collection to be in 4/4.
{Diabelli Variations}